# Posts tagged ‘Morphs’

I’ve included what would be needed for a non-breakable system for the animators, it includes (in green) some 10 more additional targets needed. In total there’s some 30 targets for 6 base shapes. What key with a combination network system is:

- How many connections a corrective has.
- And how these are connected.

If we split the system down into essentially ‘stacks’ then it can become easier to understand, the first stack is an order of 1 -this is the base stack, then 2 then 3 and so on; for each corrective in its appropriate stack its has the same amount of inputs as the order of the stack. What becomes interesting is the connections, in most cases the last stack drives the next but we also have unique connections such as a 2 stack corrective (6 + 9) driving a 5th stack corrective jumping 3 stacks.

Whats also important in this system is compiling the network when you change a corrective in a stack. On each stack all you need to be doing is generating a corrective and the inputs it requires – compiling this network would go through the connections a build the correctives. What the user see’s/modifies is the final corrective – which is infact a mathmatical ‘messed up’ target working behind the scenes. Whether this is realtime generated thing or a procedural ‘compiling ‘ step depends. Then later takes your ‘asthetic’ target, looks at its inputs and generates the real corrective.

The network is non-comunicative in terms of process – its a left to right system with all the corrective looking only at there inputs with a simple sorting method.

I can see how Bay Raitt must of gone crazy building the facial network for Gollum. Looking at the FACS (facial action coding system) action units of the upper face and its corresponding corrective targets made me go a little doolally! – First off even though the algorithm of driving the correction is a simple sort issue – the order in which they driven is a little un nerving:

On the left are the base targets – the action units. From left to right the orange nodes are the corrective targets needed – you have to build them in this order as for target “1 + 2 + 4 + 5” you need “1+4+2”, “1+4+5” and “2+4+5” then “1+4”, “4+5”!!

Dont get me started on how many you need to link to the mouth and well the mouth targets themselves!!!

Essentially the ideas of combination sculpture: to model a series of poses and corrective poses that exist in a space governed by wieghts can be applied to any rig – including bone and muscle rigs. All your doing is making poses and corrective poses.

The math behind corrective poses can ofcourse be script so it becomes a simple task of making the combination look right, and behind the scenes do that math to make the corrective shape. For bone and muscle type setups, you’d need ways of storing all transforms of all the joints/controls used in the face as if they were verts and do some corrective transform math to build the corrective pose.

As to making the poses, there seems to be some governing rules, for one, the order of making the corrective shapes. Take for example an n-space of 3 (basically a point3 space, 3 dimensions) , essentially three sliders – we have around 7 poses existing in this space: [1,0,0], [0,1,0], [0,0,1], [1,0,1], [1,1,0], [0,1,1] and [1,1,1]

The last [1,1,1] has to be built last, because it by it’s very nature is the combination of everying, and likewise [1,0,0] , [0,1,0] and [0,0,1] should be made first as there the initial single poses. What happens between these is the tricky part , and especially [1,0,1]. [1,1,0] is a simple extension of [1,0,0] – so deducting from that [1,1,0], [1,0,1], [0,1,1] should be the order, we model the corrective poses.

I took another look at some research on n-space combination sculpture today and the light-bulb ( i think) finally went off in my head as to how it works. Essentially you have four parts:

- A n-space comprised of weights
- A set of targets (i.e shapes)
- An orgin/neutral shape
- A vector (the sum of the weights)

The old ideas of standard blendshapes basically go out the window, but the power you gain is pretty amazing – and in theory can be used for any facial type setup including bones and muscle rigs.

In simple terms, you associate a target(shape) to a weight,this for all instances is standard blendshape stuff – but with n-space combinations you can associate a target to more than one weight.

For example lets say we have two targets: A and B, and there respective weights: w1[1,0] and w2[0,1] remember weights exist in an n-space so if there was 3 it would be as follow w1[1,0,0] , w2[0,1,0] and w3 [0,0,1]. These do nothing atm, until we associate a target(s) to them so e.g target a is associated to w1 at [0.5,0] ( a target doesnt have to be at 1 of the weight)

Still follow? Well simply put we define a space from weights so point1 would be just one weight, a point2 would be 2 weights and a point3 would be three weights.. and so on. If we have a space of the nth number its an n-space so if we have 30 weights, i.e sliders in our rig we have…. yes….. an n-space of 30 dimensions!

Now the clever part comes in that the system basically cant break. The cool part comes in that you can associate a target shape to 1 or more weights(sliders)! so say we set weight w1 at a value of 1 so [1,0] and w2 the same [0,1] we now have a combined value of: [1,1] and this shape combination may not work. So we associate a new shape to this weight vector.

All that changing the value of the weights does is that it moves a vector through the space of what its comprise of eg. 3 weights [.3,0,0] [0,.2,0] [0,0,.7] we have a vector in this space: [0.3,0.2,0.7].

What i dont fully understand is achieving the final, delta. But im working on it – the funny thing is Jason Osipas setup is very reminesent of this n-space idea, working in planes etc. And could easily i think be adapted to work with it.

more to come..